On Moving Farther Away from Speech, or Hindsight is Never Twenty/Twenty, highlights the interactive subjectivity that signifies memory recall, not from a linguistic perspective, which is often unattainable, but rather from the standpoint of visual semaphore. Through the complex act of cueing, each object and its embedded digital image, along with the sculptural supports that make up the piece, engender a dialogue of ever shifting fragments. The openly interpretative nature of poetry, along with the attendant metaphors of water, air and ice, visible in the reflective surfaces of the platforms and photographic shards, liken this experience to recollection in real time, where the notion of fixed and stable forms is continually disrupted without ever being fully dispersed. Like stanzas in a poem the objects float in space, undeniable in the physicality of their presence, but like their literary counterparts, subject to the same slippage of interpretative device—the breakdown between memory, linguistic interaction, and actual event—that constitutes the dialectical and warring relationship between our rational and emotional minds.